ajejebrazorf

De Andrè, on the other hand, said it was "academic and baroque," and honestly, I've always thought so, even before reading his opinion.

and you have different tastes even from De André :D

opinions. Everyone died barely for me is perhaps the worst of De André (it wasn't even liked by De André himself, who almost came to disown it). And just to say, before Radici I see well Via Paolo Fabbri, and also Metropolis, this and Madame Bovary have nothing to envy to Radici.

De Gregori's early albums (for me especially the first one, but also "La Pecora" and "Buffalo Bill") are personally among the most beautiful records made in Italy. In fact, if I were forced under torture to choose just one album among those of Guccini, De André, and De Gregori, I would choose "Alice non lo sa."

The rankings among Guccini, De André, and De Gregori really don't mean much. They have all done great things, and for me, they stand on the same level. De André is more mythologized, as tends to happen with deceased musicians (I'll never understand this, I fear).

From what I've been able to see, I believe Holdsworth's tuning is the classic one; it is his extensive knowledge of scales, technique, and saxophone phrasing that he has tried to reproduce (not by chance is he referred to as the Coltrane of the guitar) that allows him to play melodically complex and unusual phrases. Moreover, he has a great finger spread on his left hand, which enables him to easily perform fingerings across 5-6 frets. I was listening to him again these days: in my opinion, the fact that he has remained relatively known only among "insiders" depends on the fact that he is an extraordinary talent, a sensational and complete guitarist, but he has never made truly great albums, neither under his name nor in collaborations. He has settled, perhaps also because he wasn't interested in doing anything else, to play in the usual fusion and jazz-rock contexts, with all the limitations that this entails. Had he been able to participate even just as a collaborator in projects like, say, those of Robert Wyatt or Miles Davis (or even on some math rock albums), he would have enjoyed a much greater recognition, which he truly deserves as a musician. While Jordan and Gambale, great technicians as musicians, do not possess the depth and originality of Holdsworth. Perhaps he was indeed limited by his idea of music, which, despite its innovations, remained trapped in the narrow spaces of pure fusion.

Very beautiful. In my opinion, it doesn't reach the level of from her to eternity, but it's still a great album. And then, what is blind lemon jefferson (answer: one of the greatest blues ever heard on the face of the earth). Beautiful review.

---> by 'depressing' I mean leftist Italian singer-songwriters <--- and so? You know it sounds like something Berlusconi would say? What the hell does it mean? ---> Third, I knew nothing about the aforementioned clarifying meeting, but just citing a music critic in such a crude manner is not a great act of acceptance of others' opinions; whether they cleared things up is another matter. <--- But if you didn’t know how things went down, why pronounce judgment on Guccini’s character? And then, aside from the quarrel between the two, can a musician not respond to superficial criticisms, or must they accept all the shitty and rushed judgments on their work? Fourth, "Michel" is a beautiful song; the final lines of "Canzone per Piero" are worth ten "Michel." Fifth: if you find this heavy, you find "Radici" heavy too. You can’t dismiss this album as "because it’s heavy." You can say it bores you, that you don’t like it, that it’s pompous, but if you say this is crap because it’s heavy, then "Radici" is crap too. And the superficiality with which you judge stems from the fact that you consider two albums like "Radici" and "Stanze" similar and on the same level in a totally different way.

I made a mistake earlier; I should have written "it's a fact related to Pierfarri's nonsense (:the fact that Guccini doesn't care much for Stanze)," otherwise it doesn't make sense.

"It's a matter related to Pierfarri's nonsense," otherwise it doesn't make sense.